| Roll Call....
Join us as we present features, interviews and pictures of some of the wonderful cast and crew from The Phil Silvers Show...
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Mickey Freeman
First up in the Roll Call is Mickey Freeman who played Private Fielding Zimmerman. Enjoy this fascinating interview with the man who played one of the shows most popular characters...
Mickey, as Pvt. Fielding Zimmerman you became one of the shows most popular characters. What are your memories of working on the show?
"The pride of being on a show that was not the usual sit-com. When it showed on a Tuesday night you knew that the next day people would keep talking about 'last night's show'. Seeing those brilliant scripts come to life was a new thrill every week!."
We've often heard that Nat Hiken was inspired by people, such as Maurice Gosfield, to specifically create parts to fit the faces. Did he create Fielding Zimmerman for you?
"Nat didn't create Fielding Zimmerman for me, but after the third show our names were sort of assigned to us. Maurice Brenner (Flesichman) was actually called Doberman for a couple of shows."
Did you know or work with any of the cast before "Sgt.Bilko"?
"Billy Sands (Paparelli) was a friend of mine and I knew Herbie Faye (Fender) from the Catskills - but nobody else."
Did the thought of working alongside Phil Silvers inspire you and what were your thoughts on him as a comedian?
"I certainly admired Phil Silvers. I thought of him as the best book comic in show business. As an actor you hardly get inspired - you do your thing and try to do it the best you can."
Phil often stated that working on the show was like being part of one big happy family. Would you say that was true?
"On the set yes, we were one big happy family. Phil hardly mixed socially - he was always busy with lines and things for the show. Paul Ford (Col.Hall), Harvey Lembeck (Barbella) and Allan Melvin (Henshaw) and I saw a lot of each other socially." Were you ever allowed to throw in ad-libs on set? "There is no ad-libbing in television - a thirty minute show had three one-minute commercial breaks - that left about twenty seven minutes. Sometimes we would think of a line. I would tell Nat Hiken and he might say "We'll use it!" but there was no just doing a line off the top of your head without clearing it first!" At the end of the first season Harry Clark (Sowici) passed away. Presumably this came as a shock? "Harry Clark's death was a great shock since he died during a lunch break playing 4-wall handball." Why didn't Ned Glass (Pendleton) return for a second season? "Ned didn't come back because he was anxious to return to his lovely home in California!" In 1956 Phil played some live shows in Las Vegas with some of the Bilko cast. Can you expand on this? "Phil appeared at the SAHARA HOTEL. He was joined by Doberman, Fender, Paparelli and Henshaw. He was a big hit artistically and an even bigger hit with the casinos where he spent a lot of money." In the years following the shows cancellation did you have any contact with Phil? "I would meet Phil every so often at Sands, the famous restaurant in Shubert Alley. Then I visited him backstage at DO RE MI. I spoke to him in California after he became ill but I never got to see him in person again." After all these years how does it feel to be a part of such a classic television milestone? "It gives you a great feeling of achievement when, all these years later, people still know me as Fielding Zimmerman." Do you have on particular memory of working on the show? "The night of the Emmy Awards Dinner when we received 5 Emmys. Great night!" Do you have a personal favourite episode of The Phil Silvers Show? "My favourite episodes...Empty Store, The Twitch, Doberman's Sister and Court-Martial!" And what happened for you after the show was cancelled? "I have never stopped working as a stand-up comic. I wrote some shows for McHALES NAVY, I've done live theatre, after dinner speaking..I've worked the cruise ships and in the process got to see some beautiful places and met some wonderful people! Not bad for a little guy with one joke!"
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Phil Silvers and Mickey Freeman Mickey Freeman circa 1986 Mickey Freeman (2007) |
Phil Silvers, Paul Ford & Nick Saunders in The Phil Silvers Show Middle: Publicity shot of Nick Above: Gedda Saunders, Mick Clews, Nick Saunders and Steve Everitt at Nick's apartment - California (2000)
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Nick Saunders As Captain Barker, Nick Saunders appeared in nearly 50 episodes of The Phil Silvers Show. As Colonel Hall’s right-hand man he was always ready to help thwart Ernie Bilko’s larcenous schemes. Of course for the most part he was battling against impossible odds however, on the odd occasion, he emerged triumphant over Bilko. Witness the finale of The Rest Cure when Barker actually turns the tables on Bilko. Nick was born Nikita Soussanin in Kiev in 1913. As a young man he developed an interest in theatre. After learning his craft in stock theatre the natural progression was to progress to legitimate theatre. After the show was cancelled Nick returned to his theatre roots, appearing in numerous off-Broadway plays. It was also at this time that Nick carved out a successful career as one of the most prolific translators and adapators of Chekov plays, his adaptations appearing on both Broadway and in the West End. By the 1950’s Nick was working regularly in television on such show as Kraft Television Theatre and Philco Television Playhouse. From 1950 to 1952 he played the role of Detective Sgt.Ross in Martin Kane – Private Eye.Occasionally he appeared on TV most notably in The Jackie Gleason Show – (1966) and in All My Children – (1970). He also made appearances in films such as Fail Safe – (1962), Bananas – (1973), Paradise Alley – (1978) and Arthur – (1981). Sadly Nick passed away in August 2006.
The following story was related to The British PHIL SILVERS Appreciation Society in November 2000.
"I have a memory you know, of THE PHIL SILVERS SHOW, which was called "Camp Paradise" Supposedly Phil Silvers, Bilko, always got away with everything. Nat Hiken came over to me and said "Look, this time we're gonna change the ending!" This was just at dress rehearsal. " You go into a sound just like a rooster. See what you can do because the Colonel is going to do his little dog imitations..." You know the sort of thing that Phil Silvers did as Bilko...he (Bilko) said that they were coming over from the Ed Sullivan Show you see, in order to have him (Col.Hall) do his dog imitations. So I said "Fine, I'll do that!" So the Colonel did his little dog imitations and then I went into my rooster. After I finished it, the Colonel took away the skis from Bilko and said "I think Captain Barker needs these more than you do!"
Now my little story is the fact that I was born in Russia and when I came over here as a 9-year old boy I didn't speak a word of English. English is an acquired tongue and the only rooster I ever knew before I came here was a Russian rooster. So here I was doing a Russian rooster. Nat Hiken came over and said "Everything was fine, your timing, the way you looked.....just work on that rooster a little bit." And I said "Work on that rooster? What do you mean?" and then I realised that I was saying "KUKA-DE-KU, KUKA-DE-KU!" - a Russian rooster instead of "COCK-A-DOODLE-DO"!
Nicholas Saunders November 2000 | ||||||
Allan Melvin Allan Melvin is perhaps best known as Cpl.Steve Henshaw in "The Phil Silvers Show". Allan was a multi-talented actor and gifted impressionist and went on to carve out a hugely successful career in television and as a voice-artist for Hanna Barbera Studios. Sadly Allan passed away in 2008. The following is a fascinating interview with Allan from 1992! Allan, how did your involvement with "The Phil Silvers Show" begin? "I was doing a play called 'STALAG 17'. Nat Hiken and Phil Silvers came to see the show and liked a couple of the characters. I was one of those characters. I was asked to audition. I walked into the audition and saw this huge line of people and decided I wasn't going to wait. I went out and it was raining so I thought I might as well wait. We chatted and they said they'd be happy to have me on the show!" Many of the cast didn't actually audition for the actual roles in which they were eventually cast. Was this the case for you? "I auditioned for the part later played by Fred Gwynne (Ed Honnergan). When we started rehearsal I saw that I was now Corporal Henshaw when I'd actually auditioned for a leading part." Did this cause any problems for you with Nat or Phil? "I went to see Nat and he said "It's OK Allen, you'll like this a lot better!". From then on I was in all the shows so I was happy to do it!" Did you have any reservations about being part of such a large ensemble cast? "I think all the characters were so well-defined. That was part of Nat's genius. He felt every integral part of the show was important. For Nat it wasn't just the star and a bunch of supporting characters. He felt everybody contributed something and it reflected in the success of the show!" Rocco and Henshaw were written almost as if they were the two halves of Bilko's conscience, they were not simply comic foils. Would you say that was true? "It was a physical thing that appealed to Nat. Also when one was away the other could work, keep the ball up in the air!" The show always exudes a sense of excitement, energy and great fun. Was this evident on-set too? "We were all having great fun. We would play cards a lot. We started with an audience but that bothered Phil greatly. So we got rid of them. Phil wanted to shoot it like a movie. He had a real talent for keeping the tempo going so it didn't bother us about not having a live audience. It gave us the chance to come up with bits of fun you know!" Did you all socialise outside of work? "I would often meet with Mickey Freeman, Harvey Lembeck...we'd take the wives out dinner and so forth. Phil was sort of a loner, probably he had his own circle of friends outside of the show. I had dinner with him on several occasions. That was the extent of it." Other than Phil, did any of the cast have any input into their characters? "Not really. It was Nat's baby and his concept of the show and the way it should go was was very strong from the very start. It always worked and his notions always seemed to pay off!" What are your lasting memories of Phil? "I've always had tremendous respect for Phil. He came up the hard way, through Burlesque and Vaudeville. He was a top-notch sketch comic. There are very few around who could match his wit, his flexibility and his ability to ad-lib!" How did the cast take the news when they heard the show was being cancelled? "It was kind of a shock to all of us because it was still a ratings success. But I guess it's about business and the powers that be wanted to get the show into syndication!" After the show was cancelled you obviously continued to act... "Sure. I did TV...things like Archie Bunker, Jackie Gleason, Gomer Pyle. I also did a lot of voice-overs for Hanna Barbera. I played Bluto in Popeye. For me voice-over is easy, you just pick up the script, read the words and do the voice. I do a lot of work with guys who are all voice-people. It's a lark!" How does it feel now, to look back on such a long and varied career? "I've met some wonderful people, had a lot of fun....and made some money!" |
Top: 1950's publicity shot of Allan Middle: Allan in California aged 70 Above: Allan in "Archie Bunker's Place" - (1982)
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| Leonard Stern
Leonard Stern is a hugely successful television writer. His credits include "THE HONEYMOONERS", "THE PHIL SILVERS SHOW", "THE STEVE ALLEN SHOW" and "GET SMART". He has also worked as a publisher, firstly with Price/Stern/Sloan and most recently with Tallfellow and Smallfellow Press. The following interview was given to the society in 1986. Who initially approached you with the proposition of working on the show? Nat Hiken had created another show "The Great Montague", and was desirous of shepherding it through its early years. In order to do this, he had to find his replacement on 'BILKO'. He chose me. Working together for six months, Nat and I arrived at the same conclusion. He was irreplaceable on 'BILKO'. Can you describe for us how the show scripts came together? Although all the writers' names appear on each episode, we did not write in concert. Scripts were written by teams. I collaborated with Tony Webster. We would develop a story-line, check with Nat, decide on what stayed and what went and then go off and write a first draft. We would meet again (usually very early in the morning, before Nat went on the set to oversee the shooting of an episode) and discuss changes for the final version Who would give the OK to the final draft? The final script was never final. Nat would always do a polish. Additional revisions were made by Nat and Phil as the show rehearsed. There was seldom a major rewrite on the set, but some of the changes were more that bite-size! How did Nat strike you as a man...I mean was his genius very much in evidence as part of his character or did it shine through his writing? Better than he would strike me as a woman. Actually Nat was a paradox. At work he was of singular purpose, somewhat dictatorial and superbly creative. In life he was unassuming and low-key. How often were your required to be on set? As the potential Hiken heir, I did spend a lot of time on the set, but my rewrite contributions were minimal. Writing in the office was round-the-clock job! Phil said the BILKO team was a 'happy family'. Did that feeling spill over to the crew? Yes it did. Ruckus and rebellion were kept to a minimum. A sense of fun and camaraderie prevailed. Unfortunately these ingredients are noticeably absent in the behind-the-scenes operation of most of today's comedy programs. During your time on the show you contributed to some classic episodes. On reflection, how do you feel about having worked on the show? After four years of working on 'THE HONEYMOONERS' I thought I knew everything about comedy writing. A week in the company of Nat Hiken and I trashed that idea along with my very first script. Nat and Phil knew television comedy was a popular, rather than a fine art, but they never any concessions to this realisation. They insisted on the development of stories and characters that gave an insight and perspective on what it means to be a human being. To put it another way, the 'BILKO' show always had meaningful subtext underlining the jokes. Compared to today's sitcoms, how would you rate 'THE PHIL SILVERS SHOW'? I do think 'THE PHIL SILVERS SHOW' ranks among the ten best comedies ever presented on television. The many revivals and the renewed critical acclaim 'BILKO' receives each time it is rerun lends support to what might be thought by some 'malcontents' and 'dyspeptics' as a self-servicing statement. Why did you leave the show? Nat was ambivalent about turning over his responsibilities on 'BILKO.' He epitomized that old Durante song - 'Did You Ever Get The Feeling You Wanted To Stay, Did You Ever Get The Feeling You Wanted To Go'. When the opportunity to direct, head-write and determine the direction of the new 'STEVE ALLEN SUNDAY NIGHT SHOW' presented itself I went 'past go.' I told Nat long before Mario Puzo immortalized the phrase "It was an offer I couldn't refuse". Nat agreed with me. Would you say that working on 'THE PHIL SILVERS SHOW' was a great learning experience? As I said earlier, it was on-the-job-training... the best a writer could have. It taught me to create shows that were thoughtful as well as entertaining... or at least it taught me to try and create shows with these elements. What was the source of inspiration behind your 'BILKO' scripts? I don't remember who I'm quoting but "comedy is one per cent inspiration and ninety-nine per cent perspiration". How much was Phil allowed to tailor the scripts to suit his character? In Phil's case the word 'allowed' doesn't apply. In addition to his other talents, Phil had improvisational skills. He was expected to make funny and insightful contributions to the script. As for the other cast members, they could of course make suggestions. Whether or not they were incorporated into the scripts was up to Nat or the size of the actor. Would Phil ever come up with an idea for a script? Nat and Phil were collaborators. they worked on scripts while playing betting on fights and getting married. To what extent were you involved with Phil during your time on the show? We were close. Phil introduced me to my wife, Gloria. I took a Sunday off from writing to marry her. Phil was an usher at the wedding and predictably converted a silent bit into a major role. Did your relationship continue after you left the show? It did indeed. I am still in touch with the Silvers family. His girls are friends of my children. Most of the tabloids over the years have said that BILKO was drawn directly from Phil's own persona. How true would you say that is? I don't think the show or the BILKO character evolved from Phil's persona as much as it did from the characters he portrayed in his Burlesque and Vaudeville days. Do you have any memories of the show that stayed with you? One ineradicable memory... Nat Hiken sitting behind his desk and unconsciously and systematically decimating any packet of cigarettes left on his desk. This was not without a residual and artistic benefit. Nat's deft fingers would twist the cellophane and silver foil into impressive animal sculptures. Mostly giraffes... Did you work with Phil or any of the cast again after BILKO? Yes. I did over a dozen series subsequent to BILKO and worked with many of the performers whom I had originally met on the show. Unfortunately, that did not include Phil. there is a simple explanation for that... he wouldn't work cheap! Why do you think BILKO is still popular today? Because it's very good and because it's very funny! How much influence do you think the show has had, not only on todays shows, but also the writers of today? It has given them a ton of frustration. BILKO is difficult to duplicate or emulate. You have to start off with a Silvers and a Hiken...and unfortunately we are out of those!
Leonard Stern
June 1987
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Gerald Hiken
In August 2008 the Society was fortunate enough to forge contact with Nat's cousin Gerald Hiken through something as basic as an online telephone directory! I'd taken a gamble that I'd tracked down the right Hiken and nerves kicked in as I dialled the number. Fright soon turned to pleasure after a brief introduction with his wife Barbara, Gerald came bounding to the phone and positively 'gushed' with stories about Nat and Phil.
He spoke with admiration and love for both men, adored his only appearance on The Phil Silvers Show, which later lead to a steady stream of film, stage and TV work. So without further ado, for your reading pleasure is Gerald Hiken's recollections of working with two of the Greats from the golden era of American comedy.
Phil Silvers and Nat Hiken
Nat Hiken was my cousin and what I remember most from my time spent with him was his quiet humor. When Queen Elizabeth II was having her coronation, I was dining with Nat and his family and I noticed one of his daughters, a young kid about twelve years old, looked very unhappy. She in fact, left the table almost in tears. When I asked about it, Nat replied she was upset because she had not received an invitation to the event in London, something she fully expected! I remember this now because I saw that Nat was not angry with her but rather amused and that he was not laughing at her either, which would be cruel. In fact if anything, he was sympathetic.
This was typical of him. He was never to my knowledge, cruel or mocking, but while he was aware of flaws in anyone, he looked with gentle understanding and humor. For this reason he could create sharp characters like Bilko, who could be portrayed as a conman with no consideration for others, but with Nat showing him as an awkward fumbler who is struggling to survive as best he can, he comes across as actually lovable. He acts out our own child-like fantasies of opportunistic scheming and then meets his failures with a wry grin. And he almost manages to show that he cares for others more than you might suspect.
This also reflects my experience with Phil. I was only in one Bilko show (the sublime 'Bilko's Black Magic') since the season was coming to an end and I was beginning my career in New York. But later I was cast in the musical 'Louie the Louse' with Phil and this is what gave me my chance to learn more about him.
At this time I was performing Chekhov's 'Three Sisters' in a small theater in Greenwich Village. As one of our rehersals was running late, I asked to leave before it was over so I could get to the theater for the performance. As I started to go, Phil asked Nat why I was leaving and Nat told him I was going to 'Three Sisters'. Phil called out to me, 'Say hello for me to Patti, Laverne and Maxine!' Those were the names of a popular singing trio and I thought he was clueless about my world of serious theater, that he was a comedian and nothing more!
I found out how much more he was when we were about to televise the musical and Phil came up to me in the studio and asked why I seemed troubled. I told him I was upset because I had not found the key to sing my solo and Nat would only look disappointed. He had no suggestions but Phil did. He asked me, 'What would Stan say?' I was a blank! I said, 'Stan who?' Phil said, 'Stanislavski.' I was impressed. I didn't think he would know about the Russian whose work in the early 1900's eventually led to modern 'method' acting. I answered, 'He would ask me who I was singing to when I sang my song.' And as soon as I said that, I understood what was missing. I had had no reason to sing a song about the joys of winning a $2 bet on a horse race. (I had only been trying to please Nat) So I made up an image of a mother-in-law who scorned by betting on horses and I could sing my song to her to let her know how much fun it was to win, especially with a $2 bet! When my moment came in front of the camera, I belted it out with gusto!
Phil was standing next to a friend of mine, and when I finished he hugged her and said, 'He got it! He got it!' That was Phil, not only helpful but extremely generous.
I'm sorry I have no more stories but there they are! Thank you for keeping the memory of Phil and Nat alive, and good luck with the Society.
Gerald Hiken August 2008
A copy of Bilko's Black Magic was sent to Gerald and shortly afterwards the following message arrived:
Dear Steve;
This morning my wife and I watched your DVD. What a pleasure you gave us! Nostalgia used to be for things you remember when they are gone. But, as they say, nostalgia ain't what it used to be. Now we can see me and Phil as we were then. Oh, boy. Thank you so much!
Best wishes,
Gerry Hiken October 2008
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Top: Gerald Hiken
Middle: Bilko's Black Magic
Bottom: Gerald Hiken as Pvt.Mendlesohn
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Maurice Brenner (1986) Above: Maurcie Brenner as Irving Fleischman
| Maurice Brenner
When Maurice Brenner was cast in the pilot episode of a fledgling comedy show called YOU'LL NEVER GET RICH, little did he know that he would become forever immortalized as Pvt. Irving Fleischman! The show eventually became known as THE PHIL SILVERS SHOW and even more popularly as SGT.BILKO!
After the show Maurice returned to stage, but also continued to appear on TV and in films, most noticeably in CAR 54, WHERE ARE YOU? and THE DICK VAN DYKE SHOW. In 1985 he appeared in Woody Allen's THE PURPLE ROSE OF CAIRO. Following a lengthy illness Maurice passed away in August 2005.
The following interview was given to the society in 1987!
What do you recall most about working on THE PHIL SILVERS SHOW?
I have wonderful memories of working on the BILKO show...a show I loved doing. It was one of the greatest experiences of my career!
Are you still working as an actor today?
Thankfully yes. I've been doing a musical in Atlantic City. Nowadays I divide my time between live theatre, movies and television.
Would it be fair to say that you look upon the BILKO show as a highlight in your career?
Oh Yes! There was a great rapport between us, combined with the genius of Nat Hiken! One of the saddest things for me is the year by year attrition of our Platoon...
Mickey (Freeman) recalls shooting the pilot and the first few shows without a character name. Was that the case for you?
My recollection is it happened this way...when the pilot was shot I was called Doberman. However, when the series actually began to shoot I was on tour in the Sidney Kingsley play LUNATICS & LOVERS which starred Buddy Hackett (Buddy was cast as Barbella in BILKO but left before filming to star in the play!). While I was away, Maurice Gosfield, who was playing a character in the 'young' platoon called MULRONEY was moved into the part of Doberman....Originally, Nat had a 'young' platoon and an 'old' platoon. Maurice was cast in the 'young' platoon as kind of a joke! Later Nat eliminated the 'young' platoon!
So, you came back to the show as Fleischman?
No. After I came back to the show, I played a character without a name. After the first seven or eight shows Karl Lukas, P J Sydney and I went to Nat to ask for names for our characters. Nat obliged by calling me Zimmerman. This was my name in EATING CONTEST where the Stomach met the Hog! Finally Nat changed my characters' name to Fleischman and Mickey Freeman became Fielding Zimmerman!
Maurice, on behalf of all BILKO/PHIL SILVERS fans everywhere, thank you for taking the time to talk to us!
Thank you for thinking of me. These are of course my own recollections of events in a time that I like to look back upon with the warmest of feelings! My heartfelt congratulations to you and all in your wonderful society!
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| Zippy aka Pvt Harry Speakup In late 2008 we had the great pleasure of making contact with a woman who had enjoyed an indirect connection with The Phil Silvers Show. Carole Womack was responsible for looking after and training Zippy the Chimp! Zippy was enjoying a flourishing TV career when quite by a quirk of fate he was accidentally inducted into the US Army and right into Bilko's platoon! Zippy of course appeared in THE COURT MARTIAL, cited as one of the best ever episodes and said to be Phil's personal favourite. The breakneck speed of Nat Hiken's script (and one of TV's greatest ad-libs) ensured the show was awarded the honour of 'most (live) laughs recorded in a half hour comedy.' The following e-mail was sent by Carole Womack.
Carole Womack and Zippy
Thank you for your email and kind words about Zippy. Yes, I did get to meet Phil Silvers but it was just an introduction and then to work. You can't believe how fast everything moves when a show is live with a live audience. Mostly I just seemed to get in the way. My job was to receive Zippy after each bit and get him to the start of the next then run to the spot where I was to receive him again. Carole Womack 12 November 2008 For more information on Zippy click on the link below: |
Top: Zippy takes a Camel cigarette break during shooting! Middle: 'You heard nothing. You saw nothing. You say nothing!' Bottom: A young Zippy with proud owner Carole |
Paul Reed as Captain Block Above: Paul Reed at the age of 77
| Paul Reed
Paul Reed is perhaps best-remembered as Captain Block in Nat Hiken's CAR 54 WHERE ARE YOU?. Paul started as a performer in the 1920's and in a long and illustrious career appeared in numerous Broadway and Off-Broadway productions including THE MUSIC MAN, HOW TO SUCCEED IN BUSINESS WITHOUT TRYING and PROMISES,PROMISES. A flair for comedy won him a stint on Sid Caesar's CAESAR'S HOUR in 1956. Paul appeared in two episodes of THE PHIL SILVERS SHOW - BILKO'S VAMPIRE and BILKO AND THE CROSBYS. In 1961 Nat Hiken offered him the part of Captain Block in CAR 54 WHERE ARE YOU? alongside Bilko alumni Fred Gwynne and Joe E Ross (Al Lewis later joined as Leo Shcnauser). Following CAR 54 Paul had a recurring role in THE DONNA REED SHOW. He also guested in I DREAM OF JEANNIE and THE BEVERLY HILLBILLIES and in 1965 played alongside Fred Gwynne and Al Lewis in an episode of THE MUNSTERS. Paul continued to work regularly throughout the 1980's and 90's mainly in commercials, radio and theatre. Paul passed away in 2007 at the age of 97. The following is a letter that Paul wrote in 1987.... It was wonderful to receive your package and I particularly liked the piece on CAR 54 WHERE ARE YOU? Nicholas Saunders (Captain Barker from BILKO) told me all about your society and I think you boys are doing a wonderful job. How I wish I was in England to watch the screenings of CAR 54 WHERE ARE YOU? Nat Hiken was a very wonderful man, a delightful man, but he was not well you know. When he finished CAR 54 he moved to California but he didn't live too much longer after that. He left a widow - she's still around and he also left a lot of wonderful writings that are still around. His wife has control of those things. CAR 54 WHERE ARE YOU? was a wonderful show to be involved with and anything or anybody that takes the time to remember it is fine with me! These days, being along in age I do commercials and a little radio and theatre...but at 77 that's all I care to do! I still see Fred Gwynne and Al Lewis but sadly Joe E Ross is gone. Thank you for writing me. I wish you well in all your endeavours. Thank you for remembering Captain Block! Success in all you do... Your friend | ||||||
| Karl Lukas Fans of THE PHIL SILVERS SHOW will know Karl Lukas as Pvt. Stash Kadowski. Karl was born Karol Lukasiak in Lowell, Massachusetts in 1919. During the Second World War, Karl served in the United States Navy as a demolition squad instructor. When he left the Navy, Karl decided to pursue his love of acting. His first major role was as Lindstrom in the Broadway production of MISTER ROBERTS with Henry Fonda. It was here that he met and formed a lasting friendship with Harvey Lembeck. Over the years Karl appeared in dozens of TV shows including THE LUCY SHOW, BATMAN, GUNSMOKE, BONANZA, QUINCY and worked with some of the great names like Mickey Rooney, Bob Hope and Danny Kaye. Karl narrowly missed out on a major role in George Pal's SHANE when the part went to Jack Palance instead. He appeared sporadically in movies including BLAZING SADDLES, EMPEROR OF THE NORTH and Warren Beatty's REDS. Sadly, Karl passed away in 1995. The following interview was given to society in 1992. How did you become an actor? I had no idea what I wanted to do with my life. Ever since I was a boy I liked seeing plays and going to the movies. I thought I had a feeling for it. Then, when I heard what they paid actors...well I was in like a shot!
Can you recall your first acting job?
My first paying job was in New York City, playing the giant in JACK & THE BEANSTALK. I got an Equity wage and performed in front of hundreds of kids!
How did you wind up on THE PHIL SILVERS SHOW?
I was called in by CBS and Nat Hiken. Nat told me later that he'd seen me in a show we were breaking in called REMAINS TO BE SEEN. He'd also seen some of my live TV work and he thought he could use me!
What are your memories of working on the show?
It was a great time for me. A wonderful show to do and such beautiful memories. The gang affectionately called me NEWSPAPER as I was always reading them. During breaks in filming we held some great poker sessions! There was a lot of camaraderie and we were joking all the time while being thankful that we all had a job!
Is it true that while working on BILKO you had other jobs too?
Yes that's true. When I finished each day on BILKO...I'd head off to work at the Broadway Rooftop Theatre. At midnight I'd head off to Prospect Park Station where I had a job in the change booth! Karol Lukasiak wanted a steady job, but Karl Lukas wanted to be actor...so they compromised. They agreed to cut out sleeping!
Could you describe a typical working week on the show?
We would rehearse on Monday, Tuesday and Wednesday and shoot before a live audience, with three cameras, on Thursday & Friday. It was quite a pressure. I also remember so vividly Phil taking about the script and saying 'Whaddya think of this? Isn't this something?!' We sometimes wouldn't have a finished script til the Wednesday. It was amazing how Nat and Phil worked under pressure...Phil especially because he had the brunt of the lines...but that's the way they worked!
Was there much improvisation during filming?
No, I wouldn't say there was much of that. They would wing-it once in a while but generally speaking they kept to the script. After the audience was dismissed we would have to do the pick-ups.
What was Phil like to work with?
I had nothing but respect for Phil right from the first time I met him and began working with him. Phil was always super with me. I respected him and he respected me. He went out of his way to help me. That's how he was...always looking after the little guy. When I went to audition for a Broadway show he sent me to his music teacher! I was grateful to Phil because he was always trying to help me.
As you look back on your time with the show, what are your thoughts?
As I said...beautiful memories. Because of the writing and the interplay between the different characters and the humour of army life, personally I would rate THE PHIL SILVERS SHOW as being up there with the best of the best!
Are you still acting and do you still enjoy it?
Karl Lukas likes to work let me say! Like most actors serious about their acting I feel I never quite got the parts I was capable of doing. I did several episodes of ST.ELSEWHERE and met a fantastic actor called Denzil Washington. He's a very good actor who I think will achieve great things! I was in a film directed by Henry Winkler called MEMORIES OF ME, with Alan King and Billy Crystal. I worked with the late John Cassavettes and Peter Falk in BIG TROUBLE. I worked with Warren Beatty on REDS. I would've liked to have a had a part with some meat in it...but I'm very grateful I survived in this business. I hope to continue in it till the end of my days! To answer your question...yes I enjoy acting...I just don't enjoy the frustration that goes along with not getting a part!
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 From Top to Bottom: Publicity shot of Karl Lukas (1986) Karl at Nat Hiken's resting place Karl Lukas (1992) Karl as Pvt.Stash Kadowski (behind Phil Silvers) |
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Elisabeth Fraser was born Elisabeth Fraser Jonker on 30 April 1920, in Brooklyn NY. Her career blossomed on Broadway in 1940, six short weeks after leaving high school. Her striking good looks were soon in demand and she carved out a long and successful career playing brassy blondes alongside such stars as Doris Day, Frank Sinatra, Robert Mitchum and Burt Lancaster. However she was most arresting as the long suffering girlfriend of Master Sgt Ernie Bilko, a role she adored playing in the first three seasons of The Phil Silvers Show.
In 1940 Elisabeth was cast in the role of the ingenue in There Shall Be no Night with Alfred Lunt, Joan Fontaine, Montgomery Clift and Sydney Greenstreet. The play scooped the 1940-41 Pulitzer Prize and she was richly rewarded with a contract at Warner Bros. Miss Fraser carved out a busy career on the Broadway stage appearing in The Russian People, The Family, Tunnel of Love and 'The Best Man throughout the 40's, 50's and 60's.
Elisabeth was also in constant demand for dramatic and comedy supporting roles and appeared in over 30 major motion pictures including The Man Who Came to Dinner, Death of a Salesman, Young at Heart, Ask any Girl, Two for the Seesaw, The Graduate and The Way West.
Television also vied for her considerable talents, from early appearances on prestige programmes like Four Star Playhouse and Kraft Theater, she was quickly spotted by Nat Hiken for a new military comedy starring Phil Silvers, making her TV's most popular girl and securing a busy schedule in over 30 other series and specials including Perry Mason, Bewitched, Gunsmoke, Ben Casey, Wagon Train, 77 Sunset Strip, The Defenders, Car 54 Where Are You?, The Man from U.N.C.L.E, The Addams Family, Maude, The Monkees, The Jack Benny Program and Alfred Hitchcock Presents.
Bilko undoubtedly provided Elisabeth with her most consistant television work. As Sergeant Joan Hogan, the Colonel's secretary at Fort Baxter, she represented an essential alliance for the wisecracking and crafty Sgt! An even match in many respects, warning him in advance of any attempts to use his vehicles for military purposes. As shrewd as Bilko - she knew given the chance he would sell her into slavery, and their relationship was subject to some severe mood swings! But even though Joanie recognised Ernie's schemes for instant riches were doomed to failure, for the most part she could never resist his cheating, conniving and bribing for long!
Her last film appearance was in the 1980 production Nine to Five with Dolly Parton. At the time of release she said, 'It was kinda funny - for two reasons - Dolly reminded me of me!' From that point on Elisabeth retired from the industry and devoted her time to her family. To this day memorabilia from her Broadway, Film and Television career forms part of the permanent collection at the New York Public Library for the Performing Arts in Lincoln Center Plaza.
But the story of Miss Fraser's amazing career doesn't end there. After many years of trying to contact Elisabeth, the Society was delighted to receive a letter from Elisabeth's daughter Liza McDonald in 2004. After a brief communciation with Liza who checked our credentials we enjoyed two short, but wonderful telephone conversations. Although it was over 50 years since she had performed with Phil and the boys, she still retained many happy memories of working on the Bilko show. She told us Phil was a quiet guy on set until filming began, but was always a warm, thoughtful and caring guy. 'I adored working alongside Phil, he was a darling'. 'Although he was the star of the show he was always considerate of everyone who worked on the set'. 'Phil was irreplaceable and those 3 years working alongside him are the happiest of my career'.
In 2005 Elisabeth was preparing to work alongside Allan Melvin and Mickey Freeman on the commentary for the 50th Anniversary Bilko DVD release. Sadly Miss Fraser passed away on 5 May before production had been completed. We spoke to her a few weeks before and she told us how much she was looking forward to rekindling those happy memories of life at Fort Baxter. It was such a great honour and privilege to be able to speak with such a lovely and amazing lady about her life, career and especially keeping that rascally Ernie Bilko in line...!
God Bless, you are always in our thoughts.
Steve & Mick August 2009
From top: Signed photo from Elisabeth Fraser TV Guide 1956 Stunning 1940's Portrait Joan Hogan Devoted mother and daughter Liza Rare colour image of Elisabeth on set as Sgt Joan Hogan
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Edward J Montagne
Edward J Montagne, producer of The Phil Silvers Show, enjoyed a lengthy and distinguished career as a producer and director of a body of films and television series which helped to develop and shape today's industry.
Edward was born in Brooklyn in May 1912 (just one year after Phil himself). His father, also called Edward J Montagne, had worked for Thomas A Edison's film company during the birth of the Hollywood film industry.
During the war Edward served as a combat photographer and was stationed in Europe. In 1946 he joined the RKO-Pathe documentary unit.
He entered the world of television in 1949 and spent 5 years developing his craft as a director on a series called Man Against Crime which starred Ralph Bellamy. In 1950 he made his feature film debut with The Tattooed Stranger, a dark film-noir drama starring John Miles.
In 1955 he was offered the role of production manager, and later, producer on The Phil Silvers Show and stayed on board for all four seasons. He also produced the live, rarely seen special, Keep In Step.
In the early 1960's he went on to produce the Bilko-influenced McHale's Navy which starred Ernest Borgnine as Lieutenant Quinton McHale. McHale was the naval equivalent of Bilko. Some of the old Bilko crew wound up on board including Billy Sands and Bob Hastings. Mickey (Pvt. Zimmerman) Freeman served as a scriptwriter.
During the 1960's he produced a series of highly successful films starring popular comedian Don Knotts. These included The Reluctant Astronaut, The Shakiest Gun In The West and Nat Hiken's final film The Love God.
In the 1970's Edward worked on some of television's most popular programmes including The Love Boat, The Amazing Spiderman, The Incredible Hulk and Quincy.
Sadly Edward passed away in 2003.
The following interview is the copyright of Edward J Montagne (1997)
Edward recalls The Phil Silvers Pontiac Special:
"It was done on very early tape, in front of an audience. We shot two days, one for the book (script) and one for the musical numbers. I seem to remember that Phil entertained the audience between takes by playing the clarinet. Post-production was tough because tape (on which we were filming) was brand new so there was no electronic editing... we had to cut with scissors. We had to have the show ready the night after we finished shooting. We managed but we were exhausted. The show was made for Phil Silvers' company so the budget was closely watched. I had lunch with Phil and I remember he complained that I had spent too much on the choreographer. I also remember that Phil tried to talk Gene Kelly into doing the part that Sydney Chaplin played."
On the so-called lost Bilko episodes:
There were three episodes that we we never allowed to re-run. The episode with the four Crosby brothers (Bilko & The Crosbys), the episode with Kay Kendall (Sgt.Bilko Presents Kay Kendall) and the Merry Widow episode (Bilko's Merry Widow). It was all to do with residual's and costs. By the fourth season we were being beaten in the ratings by a police show from Universal. So I tried to get guests in with some name power. The Crosbys had never appeared together so I spent $20,000 to get them. That was a lot of money in those days. I forget what we paid Kay Kendall but it was a lot because she was very hot at the time. It worked because in both cases the ratings soared.
On Maurice Gosfield:
I don't think anyone ever hated Maurice Gosfield. He was a slob who enjoyed his brief celebrity more than anyone I ever knew. He considered himself a thespian and loved talking about the theatre and acting. He always felt that Doberman was a character he was playing. The truth is that Doberman and Maurice were the same. No one ever took Maurice seriously. We would bet on how long he would go before blowing a line.
I remember a few years later, when we were doing McHale's Navy, I was having lunch with Tim Conway. Maurice came by the table and when introuduced to Tim said "At one time I was a star like you!". How could you hate anyone like that?
Edward J Montagne 1997
© Edward J Montagne (1997)
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From Top To Bottom: Edward J Montagne Bilko Cast shot Maurice Gosfield Jack Klugman as Quincy |
Harvey Lembeck
Perhaps one of the best loved and most respected cast members of The Phil Silvers Show was Harvey Lembeck. Harvey played the role of Corporal Rocco Barbella, friend and henchman to Sgt. Ernie Bilko, throughout all four seasons of the show.
It was his partnership with Allan Melvin (Corporal Henshaw) that proved to be a cornerstone in the success of the show. Henshaw and Barbella were almost written (and played) as if they were the embodiment of Bilko's conscience.
Harvey was born in Brooklyn, New York on 15th April, 1923. He began his showbusiness career in the 1930's as one half of a dance act. The act was called The Dancing Carrolls and featured Harvey and Caroline Dubs, whom he would eventually marry. Harvey described the act as "the worst dance act in showbusiness!".
At the end of WWII Harvey decided to pursue his dream of becoming a sports announcer. He attended New York University and in 1947 graduated with a degree in radio arts.
Upon the advice of one of his lecturers, Harvey began to apply for acting auditions. The lecturer in question had been so impressed with Harvey's acting abilities, displayed in college productions, he advised Harvey that acting was where his future lay.
In 1948 Harvey successfully auditioned for the Broadway production of Mr Roberts starring Henry Fonda. It was here that he met future Bilko co-stars Karl Lukas and Tige Andrews. He followed up his success in Mr Roberts with a major supporting role as Harry Shapiro in Stalag 17 and as a bookie in USS Teakettle. He made his film debut in 1951 in You're In The Navy Now and in 1953 he reprised his Broadway role, to great acclaim, in Billy Wilder's film version of Stalag 17.
In 1954 he returned to Broadway with a role in Wedding Breakfast. Nat Hiken had been impressed by Harvey's performance and subsequently asked him to attended a casting call for The Phil Silvers Show. According to Phil's autobiography he eventually landed the part of Cpl. Rocco Barbella following the departure of comedian Buddy Hackett. Buddy had been cast as Barbella but left the production after being offered a large role in a Broadway production of Sidney Kingsley's Lunatics & Lovers.
After the Bilko platoon demobbed in 1959 Harvey returned to working on stage, television and in films. In 1961 he played Jerry Roper in the sitcom The Hathaways, alongside Jack Weston and Peggy Cass. He returned to military duty in 1962 when he co-starred with Dean Jones in Ensign O'Toole.
His biggest success of the 1960's came when he signed on to appear in a film called Beach Party in which he played Erich Von Zipper. Zipper was a loveable bad guy, a parody of Johnny Strabler - Marlon Brando's character from The Wild One. Beach Party was a huge hit for AIP and seven films were made in total. Harvey appeared in all but one - Muscle Beach Party.
1964 saw a huge challenge for Harvey when he was asked by Jack Kosslyn of the Mercury Theatre to take over the actors workshop. It was from this that Harvey founded The Harvey Lembeck Comedy Workshop. He developed a system of improvisational comedy workshops which he felt allowed performers to develop their comedic skills. "You can't teach an actor to be funny." he said "If the humour is innately there we will give him the tools and nourish his own abilities to grow."
It proved to be a huge success. The Harvey Lembeck Comedy Workshop still exists today and is run by his children, Michael & Helaine, both of whom continue to teach. It is a testament to Harvey's foresight and talents. Over the years many of todays most successful comedic performers and talents have passed through it's doors - Robin Williams, Penny Marshall, John Ritter, Scott Baio, Cathy Silvers and Kim Cattrall to name but a few.
Harvey also continued to act. He enjoyed great success as Sancho Panza in the Broadway production of Man Of La Mancha. Throughtout the 1960's and 70's he was visible in guest roles in most of the major TV series - The Monkees, Ben Casey, The Man From Uncle, Batman, Night Gallery, It Takes A Thief, Chico & The Man, Vegas, Chips and Mork & Mindy. He also directed touring productions of both Stalag 17 and Mister Roberts.
In 1980 he attended a Bilko reunion of sorts in Las Vegas when he and several of the old gang, including Phil Silvers, Billy Sands and Allan Melvin paid a visit to Herbie Faye in honour of his 80th birthday. Herbie was in poor health but was nontheless overjoyed to see his old friends once again.
Harvey made his final film The Gong Show Movie in 1980. He also continued to work sporadically on television, appearing in The Love Boat, Hart Of The Yard and Mork and Mindy. He continued to teach classes at The Harvey Lembeck Comedy Workshop, passing on his vast experience to a whole new generation of up and coming performers.
Harvey Lembeck sadly passed away on January 5th, 1982. He was 58 years old. His contribution to the world of entertainment, particularly in the field of comedy continues to this day. He was survived by his wife Carol and his children Michael Lembeck and Helaine Lembeck (Woff).
A Message from Harvey's family.....
How wonderful it is to know that there are so many people who still love and enjoy the show today as in the fifties! Thank you for keeping this fabulous show and it's talented cast alive!
Helaine Lembeck & Family
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Pictures (Top to Bottom) Harvey Lembeck Harvey in The Phil Silvers Show Harvey as Erich Von Zipper Harvey in The Monkees - Monkees a la Carte Harvey's headstone |
Joe E Ross
Joe E Ross was born Joseph Roszawikz on March 15, 1914 in Manhattan. He attended Seaward High School and often after school he worked as a boy tenor, earning money by singing in local restaurants and theatres. It was said that his voice was so sweet that he could bring even the most hardened of men to tears. When his voice broke at age 16 he moved into comedy and built up a steady reputation as a comedian and impressionist.
He found employment working as an MC and an announcer at various night clubs and burlesque houses in Chicago. When the opportunity arose he would often appear on the bill as the house comic too.
In 1938 he secured a 16 week contract to appear as the house comic at a nightclub in Jackson Heights, New York. By now he had a reputation as a solid, dependable comic although by this time he had gained notoreity by being somewhat risque compared to most burlesque comics. Joe was a hearty, lusty young man and his comedy style was considered too 'blue' for some of the more respectable burlesque theatres.
It is rumoured that during this time Joe developed his trademark catchphrases - the immortal "Ooh, Ooh!" and "Do You Mind?...DO YOU MIND?". The former developed as a nervous reaction due to Joe's habit of often forgetting where he was in his routine, whilst the latter was often used to deflate the hecklers in the audience.
When World War II broke out Joe enlisted in the Army Air Corps and was posted to Florida. He also spent some time on a posting to England.
After the war Joe returned to the United States and found gainful employment as the announcer, MC and resident comedian at Billy Gray's Band Box in Hollywood. It was a popular haunt of both the Jewish and the gangster fraternity and offered many young, up and coming comics their start in showbusiness.
It was during a hiatus in filming (the first season had just wrapped) that Phil Silvers and Nat Hiken were in Miami. They were touring night-clubs and theatres looking for a comedian or actor to fill a role in the forthcoming second season of The Phil Silvers Show. Sadly Harry Clark, who played Sgt. Stanley Sowici had tragically died following a game of racquetball. Rather than replace him with another actor Nat had decided to write a new character altogether into the show.
Whilst watching Joe's routine at Club Ciro in Miami, Nat decided that Joe would be perfect for the show. Upon his return to New York, Nat Hiken offered Joe a contract and Sgt. Rupert Ritzik was born. Indeed he went on to become an integral part of the show. His partnership with Jimmie Little provided some of the shows great comic moments.
Ritzik was a great foil for Sgt. Bilko and once he was rounded out as a character and paired with Beatrice Pons as his long-suffering wife Emma, Ritzik became one of the shows stand-out characters. Once in a while Phil admitted he would throw Joe a wrong cue just to try and ellicit that wonderful "Ooh, Ooh!".
When the show finished in 1959, Joe E Ross returned to the nightclub circuit. Over the next two years he made scant appearances on television and in films - he had an uncredited role in a film called Tall Story (1960) and appeared in Jerry Lewis' The Bellboy (1960).
His greatest success and the one which brought him true fame was his role as Officer Gunther Toody in Nat Hiken's Car 54, Where Are You?. Nat had enjoyed working with Joe and felt that he would be perfect for the role of Toody alongside Fred Gwynne as Officer Francis Muldoon. Fred had of course also appeared in The Phil Silvers Show (Eating Contest and It's For The Birds).
Nat even brought back Beatrice Pons to play, once again, Joe's wife Lucille. Several of the old Bilko cast and crew were also back on board including, Al Lewis, Charlotte Rae, Jimmie Little, Frederick O'Neal, John Strauss, Al De Caprio and Ray Sandiford.
The show was a huge hit and ran for a total of 60 episodes over two seasons. Once again the quality of Nat Hiken's genius shone through and the show won an Emmy in 1962 for Outstanding Directorial Achievement in Comedy (Nat Hiken).
Over the next decade Joe worked steadily in television, films and live appearances. In 1966 Joe returned to television in the short-lived sit-com "It's About Time" playing a Stone Age cave-man called Gronk. He appeared in the Batman TV series, had a brief cameo in both The Love Bug (1968) and Walt Disney's The Boatniks (1970).
In the 1970's Joe provided the voice-overs for two memorable Hanna-Barbera cartoons - he was the voice of Lionel J Botch in sixteen episodes of Help, It's The Hair Bear Bunch (1971) and Sergeant Flint in Hong Kong Phooey (1974) - again sixteen episodes.
In 1974 he reprised the role of Gunther Toody for an episode of Wait Til Your Father Gets Home - a forerunner of shows like The Simpsons and Family Guy. There were talks of an animated Car 54 show but the project was shelved.
Sadly Joe never quite reached the heights of his Bilko/Car 54 fame and was reduced to the odd cameo on televsion or film. He made a brief cameo in The Happy Hooker Goes To Washington (1977), appeared in The Love Boat (1978) as Mr Ross. His last credited work was a voice-over for an animated short entitled No Man's Valley (1981).
Joe E Ross passed away whilst performing a show for the residents of the complex where he lived, in California at the age of sixty-eight on August 13, 1982.
He was buried in Forest Lawn Memorial Park, Hollywood Hills, California.
His headstone reads "This Man Had A Ball!"......what an epitaph!
Pictures (Top to Bottom):
Early publicity shot of Joe Sgt. Rupert Ritzik Joe with Fred Gwynne in Car 54, Where Are You? Joe with a picture of Botch Joe's headstone |
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| Maurice Gosfield
Maurice Gosfield was born on January 28, 1913 in New York City, New York. He showed an early interest in performing and joined a local amateur dramatics group.
He made small in-roads into showbusiness, by appearing in amateur productions. His unique physique and looks made him the obvious choice for character roles. He also began to work on local, small-time radio stations.
During the Second World War he served the US Army as a TEC4. He was a specialist technician/mechanic who achieved the rank of Sergeant.
After the war he decided to pursue a career as an actor. He appeared in some minor radio dramas, theatre productions and made numerous night-club appearances.
His first television credit was for an appearance in The Clock (1949). The show was a half-hour murder-mystery anthology series which featured rising stars such as George Reeves and Leslie Nielsen. He can also be heard in The Andrew Jenkins Case - Broadway Is My Beat (1949) - a radio crime drama starring Anthony Ross. Interestingly Bern Bennett played an announcer in the show.
In 1952 he had a small role as a Turkish gentleman in the Jules Styne/George Abbott stage production of In Any Language.
Maurice attended and open casting call for The Phil Silvers Show in late 1954. He was immediately spotted by Nat Hiken. Nat adored his look and hired him for the show. Initially, Maurice's character was called Mulroney but Nat quickly rewrote the role and Private Duane Doberman was born.
Although he was notorious for forgetting his lines and forever turning up late for rehearsals (Phil once recalled one of Maurice's excuses - "A priest short-hopped me for a cab!") - he quickly became a favourite with the audiences. Whenever Phil was called upon to make a personal appearance he made sure to take "Doberman" with him.
His portrayal of Duane Doberman was so successful that DC even afforded him his own Pvt.Doberman comic, a spin-off from the popular Sgt.Bilko comic.
Allan Melvin once recalled that guest star Kay Kendall went for lunch at Lindy's with the platoon. She apparently looked on in shocked awe as Maurice went to work on a mountainous plate of spaghettti and meatballs. Allan turned to Kay and said "Remember, he's working without a net!".
When the show finished in 1959, Maurice returned to work as a jobbing actor. Unfortunately he found that he was now so identified with the role of Doberman that other roles were hard to come by.
His first major project was Summer In New York (1960) - a TV special written by Nat Hiken and starring Phil Silvers. Maurice appeared in a sketch spoofing the birth of The Phil Silvers Show.
He worked steadily in the early 1960's with appearnces on The Jack Benny Program (1960), The Detectives (1961) and The Jim Backus Show (1961).
In 1961 he was approached by William Hanna and Joseph Barbera to voice a character in a proposed animated show based on Sgt. Bilko. Arnold Stang recalled that although Maurice was not a great actor he was "...a very sweet man and a great character.!".
Top Cat (aka Boss Cat) was a big success for Hanna/Barbera and remains one of their most popular shows. Ex-Bilko scripter Barry Blitzer was a writer for the show and the Bilko/Phil Silvers connections didn't end there. Arnold Stang and Marvin Kaplan (who voiced Top Cat and Choo-Choo) shared scenes with Phil in It's A Mad, Mad, Mad, Mad World in 1963 and Leo DeLyon (the voice of Brains and Spook) was Phil's pianist and straight-man for many of his live appearances.
Maurice made one final film appearance in the 1963 Doris Day vehicle The Thrill Of It All. Fittingly he shared his scenes with his old Bilko co-star Karl Lukas (Stash Kadowski).
In 1964 Maurice was asked to appear in a pilot for a television show based on Charles Addams' The Addams Family. He was asked to play the role of Uncle Fester. The producers favoured Jackie Coogan but the network executives wanted Maurice for the role. Sadly after make-up tests and some brief shooting Maurice was taken ill.
The diabetes that had plagued him for many years took hold. Maurice was transferred to an actors home in Sarnac, New York. Sadly Maurice Gosfield passed away on October 19, 1964 at the age of 51.
The following interview was given by Maurice in 1962.
How does it feel to be working on a show like this?
"The atmosphere surrounding the group at the TOP CAT recording sessions is ideal for a sociable soul like me. It's kind of like the old radio days, from which most us graduated. It's hard work, but it's fun. There's a rare spirit of camaraderie among the group and it reflects in the show."
Which character do you prefer, Doberman or Benny?
"Benny is smarter than Doberman. The most fabulous part about it is the men behind the series. Bill Hanna, Joe Barbera are fantastic men and doing Benny for them is more rewarding than anything I would ever have thought possible. I find that we all mesh as one and that's unusual. Hanna and Barbera's thinking is my thinking so interpreting the loveable character of Benny is no problem!"
How different is it for you, as an actor, working as a voice-over artist?
"The feeling I have about the part is that what you take out of anything, you've got to put back in. I'm positive that Benny is going to do a lot for me, so I intend to put my all into doing Benny!".
So you treat the role of Benny as seriously as some of your other acting roles?
"Oh sure. I've done radio, TV, movies, nightclubs.....even Shakespeare. I have a picture of Benny and where he comes from. That alley just must be in the 40's near the river and from now on, whenever I go to New York I'll expect to see those cats."
You're famed for your distinctive voice and looks....
"It's for sure I'm not the tall, dark, handsome type, but I don't mind....the girls think I'm cute!"
The role of Benny is very close to the Doberman character you played in Sgt.Bilko. Would you say that was true?
"Sure. Benny and Duane are like two peas in a pod. Benny, like Duane, is somewhat of a dolt. But he always manages to be down-to-earth enough to come up with the logical questions. He's the one who has to subdue some of Top Cat's zany schemes by coming up with common sense comments."
Pictures (Top to Bottom) Maurice Gosfield Maurice as Pvt.Duane Doberman DC's Pvt.Doberman comic Top Cat Maurice in make-up as Uncle Fester Maurice's final resting place | ||||||
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